{"id":448,"date":"2012-11-11T17:17:02","date_gmt":"2012-11-11T17:17:02","guid":{"rendered":"http:\/\/www.fullofcrow.com\/crowreviews\/?p=448"},"modified":"2016-11-29T03:45:56","modified_gmt":"2016-11-29T03:45:56","slug":"the-horizontal-poet-by-jan-steckel","status":"publish","type":"post","link":"https:\/\/www.fullofcrow.com\/crowreviews\/2012\/11\/the-horizontal-poet-by-jan-steckel\/","title":{"rendered":"“The Horizontal Poet” by Jan Steckel"},"content":{"rendered":"

Jan Steckel<\/a>\u2019s The Horizontal Poet is an award-winning collection of poems published by Zeitgeist Press<\/a> with cover art by Deborah Vinograd<\/a>. This review appeared at Litseen, (link)<\/a> a bay area event and lit site organized by Evan Karp, in October, 2012. Elynn Alexander<\/a>. <\/em><\/p>\n

\"\"<\/a>The cover of The Horizontal Poet<\/em> features a supine female form, vulnerable, trusting but not submissive, open but not fully revealed. It is suggestive of a vulnerability shared by choice, not taken. She is at ease with her nakedness, calmly bold. Her hands are at rest, not a figure in waiting but suggesting serenity, contentment.<\/p>\n

For these reasons, the cover struck me and became a recurring image throughout the collection, a presence that, like the subjects in the poems\u2014\u201cWake,\u201d especially\u2014lifts up and transforms the reader. You can\u2019t come away without feeling you\u2019ve experienced something of this woman.<\/p>\n

She begins by confronting the human need for intimacy straight on, in the first poem \u201cThe History Of Our Love,\u201d and the desire to be \u201ccloser to you\/than I\u2019ve ever been.\u201d <\/em>Skeletons grinding one another into dust, pressed to chalk, the chalk a level of transience seen again in \u201cMermaids.\u201d The \u2018history\u2019 of this love is written then as a product of two beings: unified, deconstructed, formless, and then merged. The skeleton is the barest self, at our most basic, and throughout The Horizontal Poet<\/em> Steckel seeks to return the human form to biology. In the skeleton form, in nakedness, vulnerability and exposure become a theme explored. Here, in the context of love, but repeated again in other poems, the question is raised: Is love apart, maintaining other? Is love unconditional, forgiving? How close can we become; what can intimacy endure?<\/p>\n

\u201cThe Wind And The Boy\u201d<\/p>\n

If your mama pushed you off the bed, he asks<\/em><\/p>\n

and gave you a scar, would you still love her?<\/em><\/p>\n

I don\u2019t know, I say<\/em><\/p>\n

Would you?<\/em><\/p>\n

He shakes his scarred head.<\/em><\/p><\/blockquote>\n

The poet establishes an important distinction here about love and boundaries: love with dignity, and vulnerability with trust. She writes of love irrespective of and transcending the corporeal form, bodies rendered as dust in both \u201cThe History Of Our Love\u201d and \u201cTwenty Thousand Vaginas Under The Sea.\u201d The body has dignity, but in crisis the magnitude of mortality can be reduced by desensitization to physical stimuli, as in \u201cCancer And The Man,\u201d \u201cCharity After The Hurricane,\u201d \u201cThe Underwater Hospital,\u201d and \u201cSwallowing Flies.\u201d<\/p>\n

Steckel often explores the body, corporeal form, with medical enthusiasm. She connects physicality to symbol and then story, parallel: a patient coming by a diagnosis of syphilis; circulatory systems like rivers and estuaries; a heart that beats even after both memory and history have ceased; the living among the dying after a hurricane; water everywhere but everyone thirsty. Steckel reminds us of the body as a configuration of elements.<\/p>\n

In \u201cPretty, Wild\u201d she writes: \u201cI felt my DNA unscrew\/when she walked into a room.\u201d<\/em><\/p>\n

 <\/p>\n

Steckel\u2019s poems are refreshingly unapologetic about sexual response. The uninhibited descriptives (\u201cMy First Senryu\u201d and \u201cThe Naked And The Dread\u201d) present the reader with an honesty that reminded me of my first impressions of the cover: that ease and confidence.<\/p>\n

In \u201cHard As Nails,\u201d we\u2019re reminded of her activist side, as she presents sexuality with a marked absence of judgment and shame in her own treatment while at times reminding the reader that she is no stranger to bigotry:<\/p>\n

When I finally admitted I lived with my girlfriend,<\/em><\/p>\n

the Russian suddenly had no appointments available.<\/em><\/p>\n

So I found myself a gay Greek manicurist<\/em><\/p>\n

who regaled me with tales of his Prince Albert piercing<\/em><\/p>\n

and didn\u2019t mind touching my woman-touching fingers.<\/em><\/p><\/blockquote>\n

Steckel evokes both modernity and myth, her symbols often biblical, geographical, medical, literary. In each, the reader samples both culture and persistence: the past mingled with the present, the speakers a composite of richness brought to fullness by Steckel\u2019s skillful hand, tapping into a broad education and lush imagination.<\/p>\n

 <\/p>\n

The Horizontal Poet<\/em> is a collection to spend time with: settle into her pages, follow trails to their open endings. She gives you space then to depart on your own, and what you take away from the read becomes a matter of your own choosing.<\/p>\n

Reviewed for Litseen by Elynn Alexander, October 1012.  <\/em><\/p>\n

 <\/p>\n

 <\/p>\n

Please support the independent press and the poets, writers, artists, and editors involved. To explore Full Of Crow, please check out the links to our sections. <\/em><\/p>\n

Find out more about our perspective on “reviews” here.<\/a> <\/p>\n

Elynn Alexander is the editor and founder of Full Of Crow Press, promoting poetry, fiction, art, and independent creativity. You can contact Elynn Alexander (Lynn) at poetry@fullofcrow.com and www.elynnalexander.com. <\/p>\n

Facebook “Page”: www.facebook.com\/elynnalexander 
\nTwitter: @elynnalexander 
\n(Also on Instagram, Pinterest, Ello, YouTube, Goodreads, Etsy, and more. HMU.) <\/p>\n","protected":false},"excerpt":{"rendered":"

Jan Steckel\u2019s The Horizontal Poet is an award-winning collection of poems published by Zeitgeist Press with cover art by Deborah Vinograd. This review appeared at Litseen, (link) a bay area event and lit site organized by Evan Karp, in October, 2012. Elynn Alexander.  The cover of The Horizontal Poet features a supine female form, vulnerable, trusting but \u2026 Continue reading → <\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"sfsi_plus_gutenberg_text_before_share":"","sfsi_plus_gutenberg_show_text_before_share":"","sfsi_plus_gutenberg_icon_type":"","sfsi_plus_gutenberg_icon_alignemt":"","sfsi_plus_gutenburg_max_per_row":"","ngg_post_thumbnail":0,"footnotes":""},"categories":[11,1],"tags":[54,228,214,209,208,212,213,81,88,226,211,210],"class_list":["post-448","post","type-post","status-publish","format-standard","hentry","category-poetry","category-uncategorized","tag-crow-reviews","tag-elynn-alexander","tag-evan-karp","tag-horizontal-poet","tag-jan-steckel","tag-lambda-literary","tag-litseen","tag-lynn-alexander","tag-oakland","tag-poetry","tag-vinograd","tag-zeitgeist-press"],"yoast_head":"\n"The Horizontal Poet" by Jan Steckel - Crow Reviews<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.fullofcrow.com\/crowreviews\/2012\/11\/the-horizontal-poet-by-jan-steckel\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""The Horizontal Poet" by Jan Steckel - Crow Reviews\" \/>\n<meta property=\"og:description\" content=\"Jan Steckel\u2019s The Horizontal Poet is an award-winning collection of poems published by Zeitgeist Press with cover art by Deborah Vinograd. 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